Katharine Morling at Cockpit Arts’ Open Studios

This is the time of year for many craft makers to open their studios to the public. Ceramic makers being no exception, Paul Bailey (editor of Emerging Potters magazine) went along to take a look.

But why do they do it and what does the public expect?

I went along to the Cockpit Arts’ studios in Deptford, South London to see the work of international maker Katharine Morling.

 

 

She describes her work, “as three dimensional drawings, in the medium of ceramics. Each piece, on the surface, an inanimate object, has been given layers of emotion and embedded with stories, which are open for interpretation in the viewer’s mind. When put together, the pieces combine to make a tableau staging the still lives of everyday objects.”

 

 

What do the makers get from having hundreds and sometimes thousands of people trek though the studio? Let alone the time in mounting what is itself a mini exhibition for the public.

For those I spoke to it is a connection with those people who buy the work or just want to view. Most of the time makers work in isolation and while selling through galleries has its advantages, it does divorce them from the buyer. Those attending can vary from collectors at all levels, gallery representatives, interior designers, photographers, stylists and local people.

I have often thought that Open Studios are another way of visiting a gallery but with the added pleasure of being able to talk to the maker and perhaps the opportunity of buying something. Some are just starting out in their careers, and others like Katharine are international stars, but they are always keen to see what people’s reactions are to new work.

 

 

The next time to catch an Open Studio is at the end of November to early December in time for Christmas.

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